Ebrahim Hatamikia (Persian: ابراهیم حاتمی‌کیا, romanized: Ebrāhīm Ḥātamīkīā; born 23 September 1961) is an Iranian film director, screenwriter, cinematographer and actor.

The Glass Agency and In the Name of the Father have won him the best screenplay and directing awards in the sixteenth and twenty-fourth Fajr International Film Festival respectively.

[3] Hatamikia's early war-related features The Scout (1989) and The Immigrant (1990) explored the psychological and sociological impact of the war on the home front.

In his subsequent glossy feature From Karkheh to Rhein (1993), he explored the psychology of a disabled veteran on a medical trip to Germany, adding to the war theme the tension of the direct contact with the West and of displacement to foreign lands.

[9] Hatamikia in From Karkheh to Rhein and The Glass Agency have depicted the complex processes of re-integration and re-assimilation, particularly for veterans who were chemically injured or suffered chronic illnesses.

[12] The Glass Agency (1998) portrayed the feelings and life conditions of those who expunged from the public sphere and lost out from Rafsanjani's neoliberalisation.

It tells the story of two former soldiers which despite enduring sacrifices by participating in the war, did not enjoy any of the material rewards coming from post-war reconstruction,[13] and had criticized the government's hypocrisy of turning veterans into symbolic heroes but not actually caring for them.

[17] In Amethyst Color (2005) was banned from screening by the order of the Ministry of Intelligence because the film depicts the image of a security official.

The situation has reached a point where an important war movie director, Ebrahim Hatamikia publicly criticizes the interference of military personnel in cultural and artistic activities.

[19] He talked about this in the press conference for his new film Dead Wave, which has yet to be released despite the fact that it was produced by Ravayat-e Fath Foundation.

In fact, reportedly the producer prevented the movie, which is about a military commander obsessed with attacking an American warship who also has problems with his son, from being screened.

It is a dense and highly metaphoric drama involving three characters and set in a tank graveyard in the no-man's-land between Iran and Iraq.

Through the image of exiles seen in From Karkheh to Rhein and The Scent of Joseph's Shirt, Roxanne Varzi notes that the audience come to understand the international scope of the war, and that what binds a nation is so much more than land.

Though highly acclaimed by Adineh [fa] and other art magazines, Kayhan was quick to denounce the film as yet another example of failure of the cinema to mark the successes and glories of the war.

The paper warned its readers about the new immoral trend and noted that yet again the Ministry of Culture and Islamic Guidance was at fault; its cinema section had provided a $1 million budget for the film.